Immerse yourself in the vibrant rhythms and deep cultural roots of Jorge Bezerra, a master percussionist whose music transcends boundaries. Born in Rio de Janeiro, Jorge infuses his compositions with the soulful energies of his Afro-Brazilian heritage, blending traditional rhythms, Afro Latin Jazz with contemporary sounds.

With an illustrious career that spans collaborations with legends like St. Germain and Joe Zawinul, Jorge has etched his name in the annals of music history, not just as a Grammy Award-winning artist, but as a visionary pushing the envelope of percussive soundscapes.

As Jorge prepares to unveil the Deluxe Edition of “Òrun Aiyé” his latest auditory adventure with ATJAZZ Record Company, featuring collaborations with musical giants such as Zepherin Saint, Atjazz, and Boddhi Satva, anticipation builds for what promises to be a masterpiece of fusion and innovation. Our conversation delves into the heart of Jorge’s musical philosophy, his spiritual journey through sound, and the technical mastery behind his transcendent beats.

Join us in exploring the depths of Jorge Bezerra’s musical universe, where each note played is a step towards excellence. Don’t miss this profound journey into the mind of a percussion maestro whose music bridges worlds.

THE CONVERSATION

LISORO: Your collaborations with artists like St. Germain have been fundamental in your career. Can you share insights on the creative process in these collaborations? How do you blend your distinct percussive style with St. Germain’s signature sound to create something unique?

JORGE: It has been and continues to be challenging. Ludovic Navarre is a producer artist with vast musical knowledge, and whenever he asks me to record any music he composes, he has always been very precise in his choices. So, I propose a wide palette of different timbres, sounds, and rhythms that connect to his music, and together we decide what’s best for that piece.

LISORO:  Given your deep connection to Candomblé through your family, in what ways has spirituality influenced your musical approach and creativity? How do you channel your spiritual beliefs into the rhythms and sounds you create?

JORGE: It’s the purest musical essence within me. Afro-Brazilian music is so alive inside me that when I collaborate with any musical genre, all this essence naturally surfaces, leading me to the connection between the music I grew up listening to and all music. It’s very natural and expressive for these musics to appear in the form of rhythms and chants.

LISORO:  Your music reflects a deep dedication to exploring the depths of sound and rhythm. Can you elaborate on your work philosophy and how it guides your approach to musical production, especially when experimenting with new sounds and genres?

JORGE: It’s about tirelessly searching for new sounds through cultures and technological updates. Practically, I am very intuitive and curious, always thinking, “What if I do this? What if I mix this rhythm with this rhythmic base here…” So, I keep testing sounds until I achieve the goal.

LISORO: Your expertise in percussion is renowned. Could you delve into some of the more technical or “geeky” aspects of playing percussion instruments that you find most fascinating? For example, how do you choose the right drum or cymbal for a specific piece, and what techniques do you employ to achieve the desired sound?

JORGE: Every time I enter a studio, I need to listen attentively to the entire content (several times if necessary) to understand which path to follow. Then I start selecting the timbres I will begin to compose the rhythmic session with. Once the rhythmic session is defined, I start to compose the sonic details of minimalist percussions like shakers, tambourines, berimbaus, whistles, etc… (but I love playing instruments with organic sonorities like atabaques, congas, bongos, etc…).

LISORO: Your upcoming album on ‘Atjazz Record Company’ indicates a deeper exploration of electronic music. How do you see electronic elements complementing traditional percussion in your music, and what challenges and opportunities does this fusion present?

JORGE: It’s completely natural for someone who experiments with musical styles to always dare, two distinct universes can cohabitate, and this is precisely the beginning of the new. My music is situated between wings and roots, the new and the old, between two worlds. Òrun Aiyé means between two worlds (everything is possible).

LISORO: Expectations are high for your collaborations with Zepherin Saint, Atjazz, or Boddhi on the new album. What was the dynamic like working with each of these artists, and how did their unique styles influence the final sound of the album?

JORGE: It was very enjoyable working with these three masters of electronic music; I am very fortunate to have these three great producers on my Òrun Aiyé Deluxe album. Atjazz with his minimalist way and refined harmonies immediately caught my attention for collaboration. Boddhi, is one of the grooviest producers I’ve heard in electronic music to this day, he has incredible sensitivity. Zepherin has an absolute language; he manages to dialogue and connect with various peoples, this keen sensitivity is a bold vision of music. The goal was to achieve a sound that differentiated and spoke of our different visions of the same music, so working with Boddhi’s groove, Atjazz’s harmony, and Zepherin’s avant-garde sensitivity was enriching and enjoyable for me. These influences gave innovative colors to my project.

LISORO: With your innovative approach to percussion and music as a whole, where do you see the future of percussive music going? Are there any trends or new technologies you’re excited to integrate into your work?

JORGE: We are always in search of the new; electronic and acoustic music in its entirety is allowing itself not to have labels, everything dialogues among itself, this freedom is the innovation! The future of music lies in creativity, in diverse cultures, in the unconventional. It takes daring and authenticity. Yes, I’m tuned into the new and everything that can add to music and percussion. I’ve always liked technology; it’s very important what it’s providing us to advance, but I’m also interested in what humans are doing with all this information.